For 1,558 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Roger Moore's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Social Network
Lowest review score: 12 Creature
Score distribution:
1558 movie reviews
    • 100 Metascore
    • 100 Roger Moore
    Richard Linklater’s Boyhood is an amazing achievement in telling an unremarkably remarkable life story.
    • 97 Metascore
    • 100 Roger Moore
    McQueen and his stellar cast take us on a difficult journey, an odyssey that will make you want to avert your eyes. It is to their great credit that we don’t.
    • 96 Metascore
    • 88 Roger Moore
    Bullock and Clooney make their peril our peril in this absolutely gorgeous, moving and sometimes exultant reminder that the real terrors of space are scary enough, without invented bug-eyed monsters thrown in.
    • 95 Metascore
    • 75 Roger Moore
    Haynes never lifts Carol above over-dressed melodrama. And with every perfect bar where every perfect martini is served, every perfect dive of a motel on the “Lolita” roadtrip that the “just friends” abruptly take together, Carol betrays its true priorities.
    • 95 Metascore
    • 100 Roger Moore
    The performances, direction and writing of one of the best pictures of 2010 make this Social Network every bit as addictive, and a little chilling as well.
    • 94 Metascore
    • 75 Roger Moore
    And as long as it is, it would be a pity to cut one moment of Spall’s immersive, utterly convincing portrait of this common man with an uncommon gift.
    • 94 Metascore
    • 88 Roger Moore
    It’s a wholly original child’s-eye-view of emotions and growing up, a demanding movie for small children and a rewarding and touching one for their parents.
    • 93 Metascore
    • 100 Roger Moore
    If history’s tide runs against the Globe, at least those who worked there have the satisfaction of exposing a global wrong, and helping to end it. And they have McCarthy’s film, one of the best pictures of 2015, as a permanent record, a tribute in cinematic form, to their art and craft in its finest hour.
    • 92 Metascore
    • 63 Roger Moore
    The movie is so “interior,” it so zeroes in on Isaac and his baleful stare, that we’re relieved any time something overtly funny happens.
    • 92 Metascore
    • 75 Roger Moore
    When it’s over, there’s nothing more to take from the film than the uneasy feeling that what we’ve seen is either intolerant and biased, or a warning. It’s not Islamophobic to fear the spread of this primitive oppression, be it in Syria or Nigeria.
    • 92 Metascore
    • 75 Roger Moore
    The politics are rarely overt. “Pussy Riot” stories pop up on TV, and the Orthodox Church’s role in the hierarchy (cozying up to power, serving as a calming “opiate” to the masses) is mocked. Zvyagintsev is a bit too willing, in this overlong film, to let the landscape, the remote setting and the insular world of crumbling apartment blocks, sagging houses, collapsing churches grey skies shape the film’s message.
    • 92 Metascore
    • 88 Roger Moore
    Dazzling, scary and sentimental.
    • 91 Metascore
    • 75 Roger Moore
    It goes on too long, but this is personal essay filmmaking at its best, one that passes that ultimate test of such self-involved projects. It has a story worth telling.
    • 91 Metascore
    • 88 Roger Moore
    Using archival footage, inventive animated recreations of incidents and chilling aerial smart-bomb views of air strikes as they happen, Moreh creates a simple yet elegantly damning film.
    • 90 Metascore
    • 100 Roger Moore
    This unblinking look at America's Red State Crystal Meth Belt is an instant Southern Gothic classic.
    • 90 Metascore
    • 75 Roger Moore
    The Kafkaesque nightmare a woman endures trying to get a divorce in a theocracy is played out, in sometimes comical/often excruciating detail in Gett: The Trail of Viviane Amsalem.
    • 90 Metascore
    • 88 Roger Moore
    Her
    Is it better to have loved and lost than never to have logged on at all?
    • 90 Metascore
    • 88 Roger Moore
    Strip away the French and Arabic subtitles, the French-prison setting and the Muslim-messianic title, and A Prophet, opening Friday at The Enzian, would still be the grittiest prison thriller in years.
    • 90 Metascore
    • 88 Roger Moore
    Grim, gruesome and glorious.
    • 90 Metascore
    • 88 Roger Moore
    The disco decadence, the seedy era before Times Square became a theme park, the lowered expectations of an endless recession, everything that was then and is now makes up American Hustle. And that’s what makes this the best movie of this holiday season.
    • 89 Metascore
    • 75 Roger Moore
    An old fashioned Japanese folk tale beautifully rendered in old-fashioned hand-drawn animation.
    • 89 Metascore
    • 63 Roger Moore
    If you see it and wonder what the fuss was about, look no further than its star, the face that ate up another awards season.
    • 89 Metascore
    • 63 Roger Moore
    The players and the situation (taken from a Hubert Monteilhet) novel make Phoenix an approachable, less-grueling Holocaust story than most. But the unreality of it all undoes some of that and makes this brief, smart and heartfelt story feel like a pulled-punch.
    • 89 Metascore
    • 75 Roger Moore
    Anyone who has heard tapes of the real King confronting LBJ will realize that the power dynamic depicted here just doesn’t ring true. King’s moral authority asserted itself, but nobody stood up to Johnson to his face. Nobody.
    • 89 Metascore
    • 50 Roger Moore
    Little Men doesn’t come to grips with much of anything, leaving relationships and questions of sexuality and even Leonor’s uncertain future uncertain.
    • 88 Metascore
    • 100 Roger Moore
    The script and Simmons, known for TV’s “The Closer” and as tantrum-tossing editor J. Jonah Jameson in “Spider-Man,” make Fletcher a monster, and then look for ways of explaining him.
    • 88 Metascore
    • 88 Roger Moore
    We should all be so lucky as to live in a world designed, peopled and manipulated by Wes Anderson. His latest film, The Grand Budapest Hotel, is a dark, daft and deft triumph of design details.
    • 88 Metascore
    • 75 Roger Moore
    Exarchopoulos is a revelation, wearing her neediness, vulnerability and arousal with every muscle in her face, her posture, even her hair. It’s an utterly naked performance, literally and figuratively.
    • 88 Metascore
    • 100 Roger Moore
    Engrossing and moving story of a alternately warm and combative relationship.
    • 88 Metascore
    • 50 Roger Moore
    Alternately daring and dull, inventively animated, intimate and yet impersonal, it’s challenging enough to turn off most.

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